Slide Show - Images (mostly) from The Illustrated History of Painting

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Tuesday, August 16, 2016

70 Million Dollar Petit Fours

FYI: Art Historian Amelia Jones is a seasoned pro when it comes to curating her own
(faux) radical credentials – and self-promotionally disseminating that
self-constructed myth via mainstream media and august podiums at airless
academic conferences.

Jones is particularly deft at
opportunistically placing herself (in word, if not deed) at the
hypothetical barricades of whatever cultural war(s) she sees being
fought – fought by actual, participating, stakeholders.

Jones is
the quintessential academic, careerist-sayer, posing as an activist
player. Her two main claims to ‘fame’ are coining the grammatically
jaw-breaking trope “Pollockian performative” … and her infamously
demonstrated willingness to accept a lucrative Chair at UCSC – where she
functioned as upholder of, and appartchik spokesperson for, the
party-line at Roski School of Art and Design, University of Southern
California – just as the entire 2016 post-graduate cohort of the school quit en masse, in protest over the organizationally inept
corporatization of the art school. Including, but not limited to,
broken, contractual, promises to its post-grads.

Lately

Expat American living and working in New Zealand.
I have a long-established painting practice and
occasionally write criticism for Art in America, Sculpture, Art New Zealand and ARTNET - among others.
Where I come from the only people who read visual art criticism and review are the artist ,his dealer and the artist's mother.